Vol.3, No 2, 2005 pp. 151 - 160
UDC 821.161.1.09
TOLSTOY'S MIKHAILOV, THE PAINTER OF ANNA'S
PORTRAIT,
AND CONSTANTIN GUYS, BAUDELAIRE'S PAINTER
OF MODERN LIFE
Slobodanka Vladiv-Glover
Monash University, Australia
The paper argues that Tolstoy's Realism does not rely on a mimetic representation
of 'reality'. In Anna Karenina what operates is a poetics of the
'gaze' (what Lacan called 'le regard'), which resonates with the poetics
of an artist like Constantin Guys, whom Baudelaire called 'a painter of
modern life.' While not claiming that Tolstoy based his Mikhailov on Guys,
the paper uncovers parallels between the painter as (Foucault's) 'archeologist'
or local historian and Milhailov's artistic method based on the recovery
of memory as trace and interpretation of signs.
Key words: Tolstoy, Anna Karenina, Baudelaire, Contantine
Guys, Lacan, the gaze, Foucault, Archaeology, Les francais peints par eux-memes,
Russkie spisannye s naturi russkimi
TOLSTOJEV MIHAJLOV, SLIKAR ANINOG
PORTRETA I
KONSTANTIN GIJZ, BODLEROV SLIKAR MODERNOG
ŽIVOTA
Tolstojev realizam nije baziran na mimetičkom slikanju 'stvarnosti'. U
romanu Ana Karenjina prisutna je operativna poetika 'vidjenja' (ono što
je Lacan nazvao 'le regard'), koja je u skladu sa poetikom stvarnog umetnika,
Konstantina Gijza, koga je Bodler nazvao 'živopiscem modernog života.'
Iako se ne tvrdi da je Tolstovljev Mihajlov baziran na Gijzu, u radu se
otkrivaju paralele izmedju umetnika kao 'arheologa' (Foucault) ili lokalnog
istoričara, i umetničkog stila Mihajlova, koji se osniva na rekuperaciji
sećanja i interpretaciji znakova.
Ključne reči: Tolstoj, Ana Karenjina, Bodler, Konstantin
Gijz, Lakan, Vidjenje, Fuko, Arheologije, Fracuzi u svom sopstvenom vidjenju,
Rusi kako vide sami sebe u naturi
